Bang-Bang or Resus' Terrible Day !
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Original text by Geoffrey Couët and Sandra Bourdonnec

Stage Design & pictures : Marlène Berkane

Stage Direction : Sandra Bourdonnec 

 

 

“Bang Bang” tells the story of Resus, a very old hippy who made his fortune by discovering and spreading a new relaxing yoga method and became the star of this entire pleasure-seeking generation. He lives a calm and simple life, keeping himself from misspending his money, which exasperates his family. In his house, his ex-wife Diana, his son Paolon, his intendant, his maid Glinda, some of his fans and a rather weird neighbor are prowling. Some are only waiting for him to die.  An international conference is organized so that Resus can finally reveal publically his famous method and hysterical  fans come in droves to wait in front of the house when Resus suddenly dies. His family, more or less overwhelmed, is keeping his death a secret while trying to understand the “Bang-Bang” concept. But the crowd keeps waiting and the “show must go on”! So each of the characters will alternately attempt to entertain the fans by performing their very own talents.

 

For this play, I tried to take the actors – Clément Strametto, Thibaud Lemoine and myself – into a challenging performance. Indeed, all the characters are played only by us three, and we keep changing of costumes, figures and voices, faster and faster, all along the play (1h).  A few musical interludes, black humor and this extraordinary energy give rhythm to the play and take the audience in this exhilarating whirl until the final outburst. I also chose to let the actors do everything and for all to see. They change costumes in front of the audience and also take care of the lights and music changes from the stage.

 

I asked the stage designer, Marlène Berkane, to work on a sort of contradictory scenery. I wanted a set that could look full but nevertheless remained very light and uncluttered so that the audience could create his own environment in his mind. We used a lot of costumes and accessories, all of them are visible on stage but placed outside the acting space which is represented on the floor by a white square. Marlène’s beautiful scenery gets more and more disorganized all along the play until

creating a brilliant mess. 

* Translation by Justine Assaf

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